Ahh yes Kim had a lot of spare time and decided to put up the second act of the Witchblade OVA thingy. Is anyone reading this out of curiousity because you know I'd like to get some feed back so as not to waste my time. oh quick thing Lum...stick to pen and paper I like you're drawings better that way not that the Comp ones aren't good is just I don't know I like the other ones better. Umm yeah what else? Okay in case anyone cares My Little Witchblade show comes on Monday nights at 9 on TNT and they encore the same episode Tuesday at 11. So yeah they're all kinda self contained now like you don't have to see the first ones to really understand the episode as oppose to first season when it's like Crap I missed the first 15 minutes nevermind I'll never understand what's going on. So yeah if anything just watch for the cute guys you know :) So yeah I don't know how much Ian will do in this weeks episode...he really isn't in the show THAT much you know like he could miss like a week on the set and they could shoot all his sceens in a day except for like the one last week. I liked that one :D (I love Eric Etebari --Nottingham--he's so the man! Play Guitar deep whole deal...why must he be in his 30s... John Carter Hensley---Gab--is 25 now...damn it all! Grrrr blasted age gaps! ::Pout:: Side note: He's birthday is a few days before mine End side note.) Oh well yes okay I'm going now and get a grip on reality....even if it is a bitch....there had better be a LOT of good looking straight guys at Ft. Stewart I mean it had better be a 50 babe guys to every one female that kinda ratio or something...okay yeah I added pics to the side and the site won't come up so someone hit the box and tell me if they work or not.
Later Days people :)
OVA Act II
Open with Ian Nottingham entering an area outside a bar. There is a man standing there, obviously on guard. He walks toward Ian.
Man: What do you need, buddy?
He reaches out his right hand to grab Ian. Ian doesn't even pause. His left hand pushes the arm across the man's body, he turns and spins his right elbow into the man's face, dropping him to the pavement.
Ian continues to the door of the bar. Opening the door, he grabs another man stationed there and bounces his forehead off a wooden counter. He then shoves the man into a table with a large vase on it.
Cut to Gallo having dinner in a side room. There is a guard standing behind him. Both of their heads turn to the right at the noise.
Cut to a man in a leather jacket playing pool. He uses his cue stick to launch the cue ball at Ian. Ian nonchalantly catches it in his right hand, pivots and fires it into the forehead of another man. The struck man goes down like a puppet with its strings cut.
Ian advances on the pool player. The pool player swings his cue stick at Ian. Ian ducks and comes back up with a heel of the hand strike with his right hand. He catches the dropped cue stick with his left hand as the pool player drops.
Cut back to Gallo and his guard. They can hear the sounds, but not see the action. The guard takes out his gun from inside his coat and walks to the entryway to Gallo's dining area. Ian walks around the corner and hits the guard over the head with the thick end of the cue stick. Down he goes. Ian drops the cue stick.
Gallo looks on obviously impressed, but not scared. Gallo continues eating. Ian takes the seat opposite him at his table.
Gallo: That was pretty damn good. Who do you work for?
Ian: My client owns the old Rialto.
In the background, the last guard can be seen getting shakily to his feet.
Gallo: Really?
Ian: He's aware of your repeated inquiries regarding the Rialto and is now willing to sell.
Gallo flicks his eyes to the man holding his gun on Ian. Ian takes no note of him.
Ian: Be there tomorrow at 11 o'clock sharp and you can take a look around.
Ian gets up and leaves, totally ignoring the guard who trains his pistol on him the whole time.
Gallo (softly after Ian has gone): I wish that guy worked for me.
Cut to Danny and Sara arriving at the high priced hotel suite Maria was killed in. The manager escorts them.
Manager: I really don't see why this is necessary. I was assured that you were done. For over a week now we've accommodated you. Fingerprint dust everywhere … unsightly yellow tape on the door … noises at all hours …
Sara: Sir, shut up.
Sara starts walking around the room.
Danny (to the manager): Miss Buzanis rented this room?
Manager: I don't see why we have to get into all this.
Sara continues walking while Danny talks to the manager.
Manager: Yes. Yes. Miss Buzanis kept this room on the evening in question, but I have already told the police all this. More than once, I might add. Miss Buzanis was a … frequent guest at our hotel.
Sara has stopped in front of a mirror.
Danny: Nobody saw who she was with?
Manager: Detective, we run a discreet operation.
In the background, the two men can be seen leaving the room.
For Sara, the mirror goes dark and she sees Maria enter the hotel room. She checks herself in the mirror then does a little dance on top of the glass coffee table for a man in his sixties sitting on the couch. She then joins him on the couch for champagne and some pills. They start getting friendly and he passes out for a few seconds. She shoves him back and he wakes up.
Back to Sara. Danny enters the room behind her. She walks over to him.
Danny: What's up?
Sara: Nothin'.
Danny: You learn somethin' in there?
Sara: I'm not quite sure … I wish I'd been here for the initial crime scene. Let's get out of here.
They turn to leave. Sara pushes back the sleeves on her jacket and notices the Witchblade bracelet again. She takes it off and puts it in her jacket pocket.
Cut to a pool hall. Sara sinks the 8 ball in the corner pocket. The man she was playing takes some money out of his pocket and gives it to her, as well as a compliment.
Man: Good shot, man.
Sara looks to a small chalkboard with a list of names on it.
Sara: OK, who's got next game? Uh … Jake. Jake?
Jake McCartey walks up with a cue stick balanced on his shoulder.
Jake: Hey, Pez. I mean … Sara.
Sara: Jake, I come here to try and forget about the job. What do you want, man?
Jake: To shoot pool. Your break.
Sara breaks the balls fairly well.
Jake: I heard that Tommy Gallo is thinking about opening up a club down at the old Rialto Theater. I also heard he's gonna be there tomorrow to check it out in person.
Sara: Yeah? Says who?
Jake: Guy named Drexler.
Sara: Drexler? I busted him once. He was a hard case, a punk. Why would he tell you anything?
Sara is sinking pool balls while talking to Jake.
Jake: I got my ways.
Sara: Really?
Sara prepares for her next shot but Jake's in the way.
Jake: Sorry.
Sara rapidly sinks two more balls.
Jake: Since Gallo's done time, he can't get a liquor license. Which means he'll have to use a front. I would imagine that would be one of the smaller legal infractions Tommy's gonna commit when he opens this place up. Money washing, narcotics, girls … You wanna bring down Gallo, Rialto Theater could be the place to start.
Sara: Gallo's going down for murder, nothing less.
Jake: All right. What time you wanna go?
Sara: Go where?
Jake: C'mon, Sara. I give you some scratch like this, the least you can do is share with me.
Sara gives him a half-amused look.
Sara: Some "scratch"?
Jake: Yeah, you know … uh … information, intel, data …
Sara continues to run the table on Jake.
Jake: Tomorrow when you stake out the Rialto, let me go with you.
Sara: You know what? You're OK, Jake, I'll give you that, but I already got a partner. Eight ball corner pocket.
Sara sinks her last ball. Jake hangs his head.
Jake: Ah, man.
Jake hands over money.
Sara: Thank you.
Jake: Yeah, yeah, yeah.
Sara hands him her cue stick, picks up her jacket, and leaves.
Cut to exterior street scene. Sara and Danny are sitting in their car watching the front of the Rialto Theater.
Danny (sigh): Tell me again, why are we here?
Sara: To keep an eye on Gallo. I wanna know this guy's every move.
Danny: And how do you know Gallo's gonna be here?
Sara: Because Jake McCartey has a contact that says so.
Danny: Jake McCartey?
Sara: Jake's a good kid, Danny.
Danny: If I wasn't aware of your preference for multi-pierced, tattoo-covered drummers or other sorts of nocturnal self-destructive bad boys, I might think you liked him.
Sara: You think he's hot, don't ya?
Danny: Actually, I think Ricky Martin's hot.
Sara: Hmm … How about Tommy Lee?
Danny: Him, too. I don't know. I just don't quite trust the guy.
Sara: Ricky Martin or Tommy Lee?
Danny: Jake McCartey.
Sara (little laugh): You getting paranoid on me, Danny?
Danny: No.
Sara: Do not tell me it's that East Coast - West Coast thing.
Danny (surfer voice): "Oh, dude."
Danny: Why would anyone leave San Diego to come to this? It's not like he's even got family here.
Sara: Danny, Jake just gave me some information, now, that's all.
Danny: Some good scratch?
Sara gives him a look and shakes her head.
Danny (sigh): I understand. Forewarned, forearmed, Grasshopper.
Looking out her side window, Sara sees her knight, complete from helm to gauntlet to sword, looking at her from the edge of a building. When someone passes between her and him, he vanishes ... again.
Sara sits shocked, mouth agape. Danny notices her expression.
Danny: What?
Sara: Nothin'.
Danny looks at her a moment more and clears his throat.
Sara: Hey, Danny, remind me later …
She pulls the Witchblade bracelet out of her pocket.
Sara: I gotta check if this is from the display …
She trails off as two vehicles pull up in front of the Rialto, a large sedan and a SUV. At least six men get out of the two vehicles, Tommy Gallo among them.
Danny: Gallo and his posse.
Sara: Here we go.
Sara puts the bracelet on her wrist instead of stuffing it back in her pocket. Sara and Danny get out of their car as Gallo's party enters the front door of the theater.
Cut to Jake standing at a telephone down the street watching.
Cut to Sara and Danny going down a back alley.
Danny: Wearing your vest?
Sara: Yeah, of course. You?
Danny: Yeah.
They reach a rear entrance to the Rialto, move some boards away from the door and enter.
Cut to the interior of the theater. Sara and Danny are moving through the balcony towards the rail in low light.
Male voice (in the background): Somebody get the lights.
Sara and Danny reach the edge of the balcony.
Different male voice: I got it. I got it.
The lights come on all over the theater and Sara and Danny duck down.
Male voice (in background): Hey, lock up the doors, huh?
Gallo and the others walk down the center aisle toward the stage in the front of the theater.
Gallo: This is perfect.
Another man: Yeah, definitely.
Drexler: You know what we do? We gut the inside but you leave all the retro touches in place. The woodworking, the molding … all this hand-carved stuff you can't get anymore. We don't touch one bit of that.
Gallo: Louie Stomp in Staten Island. He's a silent partner in a construction firm. They do quality work. We'll give the job to them.
Drexler: See, this place is perfect, Mr. Gallo.
Gallo smiles. He then draws a gun, points it at one of his men and fires. After the man drops, Gallo follows the first shot with a second.
Close up of Drexler. He's shocked and getting scared. The others of Gallo's men exchange looks, maybe shake their heads once, but that's it.
Gallo calmly reholsters his weapon.
Cut to the balcony. Danny turns from witnessing the murder to find Sara gone. Shift to see Sara climbing down some scaffolding. Back to Danny.
Danny (softly): Damn!
Someone walks up behind Danny and knocks him on the back of the head with a pistol. Two men carry him off.
Gallo (off camera): This is going to be a legitimate enterprise.
Cut to Sara making her way down the side aisle, hunched over.
Back to Gallo and group.
Gallo: In three months' time, this is gonna be the hottest night spot in New York. Now if the police were to know that I was involved, that would be a problem.
Gallo looks at the frightened Drexler.
Gallo: And when I have a problem, I take care of it. Now this (points to the body) was a problem. Information leak. Problem solved.
Gallo and a couple of his men walk up on the stage. Drexler is still looking at the corpse.
Cut to Sara walking backstage. As she passes a darkened alcove, she hears a voice.
Ian: Sara.
Sara turns and Ian steps out into the light.
Sara: You're not one of Gallo's. You've been following me ever since the museum. What do you want?
Cut to Jake tugging on the handle of a locked door.
Cut to the two men half dragging, half carrying Danny to the stage. They drop him there and he lands on his back.
Cut back to Sara and Ian. Sara heard the sound of Danny hitting the stage.
Sara (fearful): What was that?
Ian: Karma.
Cut to the front of the stage. One man has a gun out and pointed at Danny.
Gallo: Detective Woo of the NYPD.
Danny turns toward Gallo and Gallo kicks him back down.
Gallo (yelling): Hey, Pezzini!
Cut back to Sara and Ian.
Sara: Help me. Please help me.
Ian: No.
Cut to Gallo.
Gallo: C'mon out or he'll be sorry.
Cut to Sara and Ian.
Ian takes a slim metal rod from a pile nearby and uses it to lift Sara's right hand.
Ian: Use the Witchblade.
Gallo (off camera): I'm waitin'.
Sara turns to look in Gallo's direction. When she turns back, Ian is gone.
Sara: How do …
Cut to Gallo and company.
Gallo: C'mon out, Pezzini … now.
Sara walks from the edge of the stage.
Gallo: Buon giorno, Bella. Dino.
He motions one of his men over to search Sara. He pats her down, perhaps getting a little out of hand, because …
Gallo: Just search her, OK, Dino?
Dino finishes by getting her spare gun from her ankle holster. Sara looks at Danny with an "I'm so sorry" look.
Gallo: You have no idea how much money you just saved me. (Holds up his gun) These particular bullets, in case you're interested, they cut through Kevlar like butta.
Gallo shoots Danny. Sara rushes over to him.
Sara: Danny …
Cut to Jake, gun out and yanking hard on the door handle now. Shift to inside the door. A gloved hand unlocks the door. Jake rushes through the doorway ... and is thrown over an outstretched leg to the floor by Ian. Ian steps on Jake's gun with his left foot and gives him a huge kick to the head with his right.
Cut to Sara and Danny.
Sara: Danny! Danny!
Danny: Tell my wife I'm sorry.
Sara: Danny …
Danny is still, his eyes open and unblinking. Sara turns to look up into Gallo's smiling face.
Sara: Just do it, Gallo. Why don't you kill me and get it over with?
Gallo: Arrivederci, Bella.
He points his pistol at her and fires.
"Witchblade vision": Her knight looking at her outside the Rialto. The Witchblade eye opening. Her right wrist held up backstage. Gallo with the gun pointed at her. Backstage looking at the Witchblade. The gauntlet flying from the case in the museum. The Witchblade bracelet on her wrist. Gallo staring down at her, the gun huge in her sight. The bullet leaving the barrel of the gun.
Back to Sara. In that one instant, the bracelet transforms into the gauntlet and deflects the bullet into an electrical box at the rear of the stage. While everyone is distracted by the sparks flying, Sara rolls back away from the armed men. The lights start strobing.
What begins next is a wild dance of mayhem and death. Everyone on the stage is shooting at Sara. She spins and moves across the stage, dodging and deflecting bullets. She throws one man a couple dozen feet in the air, catching his dropped gun in her left hand.
Drexler, in the meantime, has seen enough and bolts for the nearest exit. Gallo heads for another exit himself.
Sara leaps from the stage, landing between the first rows of seats. She shoots under the seats, taking out one man who has an Uzi.
Fast cut to Ian sitting cross legged on the scaffolding Sara had climbed down earlier.
Sara advances on the men firing at her. What follows is complete annihilation, ending with the Witchblade transforming again into what looks like a knobbed mace head with a sturdy blade attached and slicing up a few of the men. And Ian is watching rapt the whole time.
When all the men are down, we can hear the blade retracting or disappearing. Sara faces the empty theater with the Witchblade gauntlet on.
Sara: Gallo? Gallo! Gallo!!
End Act II
Later Days people :)
OVA Act II
Open with Ian Nottingham entering an area outside a bar. There is a man standing there, obviously on guard. He walks toward Ian.
Man: What do you need, buddy?
He reaches out his right hand to grab Ian. Ian doesn't even pause. His left hand pushes the arm across the man's body, he turns and spins his right elbow into the man's face, dropping him to the pavement.
Ian continues to the door of the bar. Opening the door, he grabs another man stationed there and bounces his forehead off a wooden counter. He then shoves the man into a table with a large vase on it.
Cut to Gallo having dinner in a side room. There is a guard standing behind him. Both of their heads turn to the right at the noise.
Cut to a man in a leather jacket playing pool. He uses his cue stick to launch the cue ball at Ian. Ian nonchalantly catches it in his right hand, pivots and fires it into the forehead of another man. The struck man goes down like a puppet with its strings cut.
Ian advances on the pool player. The pool player swings his cue stick at Ian. Ian ducks and comes back up with a heel of the hand strike with his right hand. He catches the dropped cue stick with his left hand as the pool player drops.
Cut back to Gallo and his guard. They can hear the sounds, but not see the action. The guard takes out his gun from inside his coat and walks to the entryway to Gallo's dining area. Ian walks around the corner and hits the guard over the head with the thick end of the cue stick. Down he goes. Ian drops the cue stick.
Gallo looks on obviously impressed, but not scared. Gallo continues eating. Ian takes the seat opposite him at his table.
Gallo: That was pretty damn good. Who do you work for?
Ian: My client owns the old Rialto.
In the background, the last guard can be seen getting shakily to his feet.
Gallo: Really?
Ian: He's aware of your repeated inquiries regarding the Rialto and is now willing to sell.
Gallo flicks his eyes to the man holding his gun on Ian. Ian takes no note of him.
Ian: Be there tomorrow at 11 o'clock sharp and you can take a look around.
Ian gets up and leaves, totally ignoring the guard who trains his pistol on him the whole time.
Gallo (softly after Ian has gone): I wish that guy worked for me.
Cut to Danny and Sara arriving at the high priced hotel suite Maria was killed in. The manager escorts them.
Manager: I really don't see why this is necessary. I was assured that you were done. For over a week now we've accommodated you. Fingerprint dust everywhere … unsightly yellow tape on the door … noises at all hours …
Sara: Sir, shut up.
Sara starts walking around the room.
Danny (to the manager): Miss Buzanis rented this room?
Manager: I don't see why we have to get into all this.
Sara continues walking while Danny talks to the manager.
Manager: Yes. Yes. Miss Buzanis kept this room on the evening in question, but I have already told the police all this. More than once, I might add. Miss Buzanis was a … frequent guest at our hotel.
Sara has stopped in front of a mirror.
Danny: Nobody saw who she was with?
Manager: Detective, we run a discreet operation.
In the background, the two men can be seen leaving the room.
For Sara, the mirror goes dark and she sees Maria enter the hotel room. She checks herself in the mirror then does a little dance on top of the glass coffee table for a man in his sixties sitting on the couch. She then joins him on the couch for champagne and some pills. They start getting friendly and he passes out for a few seconds. She shoves him back and he wakes up.
Back to Sara. Danny enters the room behind her. She walks over to him.
Danny: What's up?
Sara: Nothin'.
Danny: You learn somethin' in there?
Sara: I'm not quite sure … I wish I'd been here for the initial crime scene. Let's get out of here.
They turn to leave. Sara pushes back the sleeves on her jacket and notices the Witchblade bracelet again. She takes it off and puts it in her jacket pocket.
Cut to a pool hall. Sara sinks the 8 ball in the corner pocket. The man she was playing takes some money out of his pocket and gives it to her, as well as a compliment.
Man: Good shot, man.
Sara looks to a small chalkboard with a list of names on it.
Sara: OK, who's got next game? Uh … Jake. Jake?
Jake McCartey walks up with a cue stick balanced on his shoulder.
Jake: Hey, Pez. I mean … Sara.
Sara: Jake, I come here to try and forget about the job. What do you want, man?
Jake: To shoot pool. Your break.
Sara breaks the balls fairly well.
Jake: I heard that Tommy Gallo is thinking about opening up a club down at the old Rialto Theater. I also heard he's gonna be there tomorrow to check it out in person.
Sara: Yeah? Says who?
Jake: Guy named Drexler.
Sara: Drexler? I busted him once. He was a hard case, a punk. Why would he tell you anything?
Sara is sinking pool balls while talking to Jake.
Jake: I got my ways.
Sara: Really?
Sara prepares for her next shot but Jake's in the way.
Jake: Sorry.
Sara rapidly sinks two more balls.
Jake: Since Gallo's done time, he can't get a liquor license. Which means he'll have to use a front. I would imagine that would be one of the smaller legal infractions Tommy's gonna commit when he opens this place up. Money washing, narcotics, girls … You wanna bring down Gallo, Rialto Theater could be the place to start.
Sara: Gallo's going down for murder, nothing less.
Jake: All right. What time you wanna go?
Sara: Go where?
Jake: C'mon, Sara. I give you some scratch like this, the least you can do is share with me.
Sara gives him a half-amused look.
Sara: Some "scratch"?
Jake: Yeah, you know … uh … information, intel, data …
Sara continues to run the table on Jake.
Jake: Tomorrow when you stake out the Rialto, let me go with you.
Sara: You know what? You're OK, Jake, I'll give you that, but I already got a partner. Eight ball corner pocket.
Sara sinks her last ball. Jake hangs his head.
Jake: Ah, man.
Jake hands over money.
Sara: Thank you.
Jake: Yeah, yeah, yeah.
Sara hands him her cue stick, picks up her jacket, and leaves.
Cut to exterior street scene. Sara and Danny are sitting in their car watching the front of the Rialto Theater.
Danny (sigh): Tell me again, why are we here?
Sara: To keep an eye on Gallo. I wanna know this guy's every move.
Danny: And how do you know Gallo's gonna be here?
Sara: Because Jake McCartey has a contact that says so.
Danny: Jake McCartey?
Sara: Jake's a good kid, Danny.
Danny: If I wasn't aware of your preference for multi-pierced, tattoo-covered drummers or other sorts of nocturnal self-destructive bad boys, I might think you liked him.
Sara: You think he's hot, don't ya?
Danny: Actually, I think Ricky Martin's hot.
Sara: Hmm … How about Tommy Lee?
Danny: Him, too. I don't know. I just don't quite trust the guy.
Sara: Ricky Martin or Tommy Lee?
Danny: Jake McCartey.
Sara (little laugh): You getting paranoid on me, Danny?
Danny: No.
Sara: Do not tell me it's that East Coast - West Coast thing.
Danny (surfer voice): "Oh, dude."
Danny: Why would anyone leave San Diego to come to this? It's not like he's even got family here.
Sara: Danny, Jake just gave me some information, now, that's all.
Danny: Some good scratch?
Sara gives him a look and shakes her head.
Danny (sigh): I understand. Forewarned, forearmed, Grasshopper.
Looking out her side window, Sara sees her knight, complete from helm to gauntlet to sword, looking at her from the edge of a building. When someone passes between her and him, he vanishes ... again.
Sara sits shocked, mouth agape. Danny notices her expression.
Danny: What?
Sara: Nothin'.
Danny looks at her a moment more and clears his throat.
Sara: Hey, Danny, remind me later …
She pulls the Witchblade bracelet out of her pocket.
Sara: I gotta check if this is from the display …
She trails off as two vehicles pull up in front of the Rialto, a large sedan and a SUV. At least six men get out of the two vehicles, Tommy Gallo among them.
Danny: Gallo and his posse.
Sara: Here we go.
Sara puts the bracelet on her wrist instead of stuffing it back in her pocket. Sara and Danny get out of their car as Gallo's party enters the front door of the theater.
Cut to Jake standing at a telephone down the street watching.
Cut to Sara and Danny going down a back alley.
Danny: Wearing your vest?
Sara: Yeah, of course. You?
Danny: Yeah.
They reach a rear entrance to the Rialto, move some boards away from the door and enter.
Cut to the interior of the theater. Sara and Danny are moving through the balcony towards the rail in low light.
Male voice (in the background): Somebody get the lights.
Sara and Danny reach the edge of the balcony.
Different male voice: I got it. I got it.
The lights come on all over the theater and Sara and Danny duck down.
Male voice (in background): Hey, lock up the doors, huh?
Gallo and the others walk down the center aisle toward the stage in the front of the theater.
Gallo: This is perfect.
Another man: Yeah, definitely.
Drexler: You know what we do? We gut the inside but you leave all the retro touches in place. The woodworking, the molding … all this hand-carved stuff you can't get anymore. We don't touch one bit of that.
Gallo: Louie Stomp in Staten Island. He's a silent partner in a construction firm. They do quality work. We'll give the job to them.
Drexler: See, this place is perfect, Mr. Gallo.
Gallo smiles. He then draws a gun, points it at one of his men and fires. After the man drops, Gallo follows the first shot with a second.
Close up of Drexler. He's shocked and getting scared. The others of Gallo's men exchange looks, maybe shake their heads once, but that's it.
Gallo calmly reholsters his weapon.
Cut to the balcony. Danny turns from witnessing the murder to find Sara gone. Shift to see Sara climbing down some scaffolding. Back to Danny.
Danny (softly): Damn!
Someone walks up behind Danny and knocks him on the back of the head with a pistol. Two men carry him off.
Gallo (off camera): This is going to be a legitimate enterprise.
Cut to Sara making her way down the side aisle, hunched over.
Back to Gallo and group.
Gallo: In three months' time, this is gonna be the hottest night spot in New York. Now if the police were to know that I was involved, that would be a problem.
Gallo looks at the frightened Drexler.
Gallo: And when I have a problem, I take care of it. Now this (points to the body) was a problem. Information leak. Problem solved.
Gallo and a couple of his men walk up on the stage. Drexler is still looking at the corpse.
Cut to Sara walking backstage. As she passes a darkened alcove, she hears a voice.
Ian: Sara.
Sara turns and Ian steps out into the light.
Sara: You're not one of Gallo's. You've been following me ever since the museum. What do you want?
Cut to Jake tugging on the handle of a locked door.
Cut to the two men half dragging, half carrying Danny to the stage. They drop him there and he lands on his back.
Cut back to Sara and Ian. Sara heard the sound of Danny hitting the stage.
Sara (fearful): What was that?
Ian: Karma.
Cut to the front of the stage. One man has a gun out and pointed at Danny.
Gallo: Detective Woo of the NYPD.
Danny turns toward Gallo and Gallo kicks him back down.
Gallo (yelling): Hey, Pezzini!
Cut back to Sara and Ian.
Sara: Help me. Please help me.
Ian: No.
Cut to Gallo.
Gallo: C'mon out or he'll be sorry.
Cut to Sara and Ian.
Ian takes a slim metal rod from a pile nearby and uses it to lift Sara's right hand.
Ian: Use the Witchblade.
Gallo (off camera): I'm waitin'.
Sara turns to look in Gallo's direction. When she turns back, Ian is gone.
Sara: How do …
Cut to Gallo and company.
Gallo: C'mon out, Pezzini … now.
Sara walks from the edge of the stage.
Gallo: Buon giorno, Bella. Dino.
He motions one of his men over to search Sara. He pats her down, perhaps getting a little out of hand, because …
Gallo: Just search her, OK, Dino?
Dino finishes by getting her spare gun from her ankle holster. Sara looks at Danny with an "I'm so sorry" look.
Gallo: You have no idea how much money you just saved me. (Holds up his gun) These particular bullets, in case you're interested, they cut through Kevlar like butta.
Gallo shoots Danny. Sara rushes over to him.
Sara: Danny …
Cut to Jake, gun out and yanking hard on the door handle now. Shift to inside the door. A gloved hand unlocks the door. Jake rushes through the doorway ... and is thrown over an outstretched leg to the floor by Ian. Ian steps on Jake's gun with his left foot and gives him a huge kick to the head with his right.
Cut to Sara and Danny.
Sara: Danny! Danny!
Danny: Tell my wife I'm sorry.
Sara: Danny …
Danny is still, his eyes open and unblinking. Sara turns to look up into Gallo's smiling face.
Sara: Just do it, Gallo. Why don't you kill me and get it over with?
Gallo: Arrivederci, Bella.
He points his pistol at her and fires.
"Witchblade vision": Her knight looking at her outside the Rialto. The Witchblade eye opening. Her right wrist held up backstage. Gallo with the gun pointed at her. Backstage looking at the Witchblade. The gauntlet flying from the case in the museum. The Witchblade bracelet on her wrist. Gallo staring down at her, the gun huge in her sight. The bullet leaving the barrel of the gun.
Back to Sara. In that one instant, the bracelet transforms into the gauntlet and deflects the bullet into an electrical box at the rear of the stage. While everyone is distracted by the sparks flying, Sara rolls back away from the armed men. The lights start strobing.
What begins next is a wild dance of mayhem and death. Everyone on the stage is shooting at Sara. She spins and moves across the stage, dodging and deflecting bullets. She throws one man a couple dozen feet in the air, catching his dropped gun in her left hand.
Drexler, in the meantime, has seen enough and bolts for the nearest exit. Gallo heads for another exit himself.
Sara leaps from the stage, landing between the first rows of seats. She shoots under the seats, taking out one man who has an Uzi.
Fast cut to Ian sitting cross legged on the scaffolding Sara had climbed down earlier.
Sara advances on the men firing at her. What follows is complete annihilation, ending with the Witchblade transforming again into what looks like a knobbed mace head with a sturdy blade attached and slicing up a few of the men. And Ian is watching rapt the whole time.
When all the men are down, we can hear the blade retracting or disappearing. Sara faces the empty theater with the Witchblade gauntlet on.
Sara: Gallo? Gallo! Gallo!!
End Act II
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